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short…lived than the objects of his imitation。
From what has been advanced； we must now be convinced that there
are two distinct styles in history painting： the grand； and the splendid or
ornamental。
The great style stands alone； and does not require； perhaps does not so
well admit； any addition from inferior beauties。 The ornamental style
also possesses its own peculiar merit。 However； though the union of the
two may make a sort of composite style； yet that style is likely to be more
imperfect than either of those which go to its composition。 Both kinds
have merit； and may be excellent though in different ranks； if uniformity
be preserved； and the general and particular ideas of nature be not mixed。
Even the meanest of them is difficult enough to attain； and the first place
being already occupied by the great artists in either department； some of
those who followed thought there was less room for them； and feeling the
impulse of ambition and the desire of novelty； and being at the same time
perhaps willing to take the shortest way； they endeavoured to make for
themselves a place between both。 This they have effected by forming a
union of the different orders。 But as the grave and majestic style would
suffer by a union with the florid and gay； so also has the Venetian
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SEVEN DISCOURSES ON ART
ornament in some respect been injured by attempting an alliance with
simplicity。
It may be asserted that the great style is always more or less
contaminated by any meaner mixture。 But it happens in a few instances
that the lower may be improved by borrowing from the grand。 Thus； if a
portrait painter is desirous to raise and improve his subject； he has no other
means than by approaching it to a general idea。 He leaves out all the
minute breaks and peculiarities in the face； and changes the dress from a
temporary fashion to one more permanent； which has annexed to it no
ideas of meanness from its being familiar to us。 But if an exact
resemblance of an individual be considered as the sole object to be aimed
at； the portrait painter will be apt to lose more than he gains by the
acquired dignity taken from general nature。 It is very difficult to ennoble
the character of a countenance but at the expense of the likeness； which is
what is most generally required by such as sit to the painter。
Of those who have practised the composite style； and have succeeded
in this perilous attempt； perhaps the foremost is Correggio。 His style is
founded upon modern grace and elegance； to which is super； added
something of the simplicity of the grand style。 A breadth of light and
colour； the general ideas of the drapery； an uninterrupted flow of outline；
all conspire to this effect。 Next him （perhaps equal to him） Parmegiano
has dignified the genteelness of modern effeminacy by uniting it with the
simplicity of the ancients and the grandeur and severity of Michael Angelo。
It must be confessed； however； that these two extraordinary men； by
endeavouring to give the utmost degree of grace； have sometimes； perhaps；
exceeded its boundaries； and have fallen into the most hateful of all
hateful qualities； affectation。 Indeed； it is the peculiar characteristic of
men of genius to be afraid of coldness and insipidity； from which they
think they never can be too far removed。 It particularly happens to these
great masters of grace and elegance。 They often boldly drive on to the
very verge of ridicule； the spectator is alarmed； but at the same time
admires their vigour and intrepidity。
Strange graces still； and stranger flights they had； 。 。 。 Yet ne'er so
sure our passion to create Ae when they touch'd the brink of all we hate。
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SEVEN DISCOURSES ON ART
The errors of genius； however； are pardonable； and none even of the
more exalted painters are wholly free from them； but they have taught us；
by the rectitude of their general practice； to correct their own affected or
accidental deviation。 The very first have not been always upon their
guard； and perhaps there is not a fault but what may take shelter under the
most venerable authorities； yet that style only is perfect in which the
noblest principles are uniformly pursued； and those masters only are
entitled to the first rank in； our estimation who have enlarged the
boundaries of their art； and have raised it to its highest dignity； by
exhibiting the general ideas of nature。
On the whole； it seems to me that there is but one presiding principle
which regulates and gives stability to every art。 The works； whether of
poets； painters； moralists； or historians； which are built upon general
nature； live for ever； while those which depend for their existence on
particular customs and habits； a partial view of nature； or the fluctuation of
fashion； can only be coeval with that which first raised them from
obscurity。 Present time and future maybe considered as rivals； and he
who solicits the one must expect to be discountenanced by the other。
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A DISCOURSE V
Delivered to the Students of the Royal Academy on the
Distribution of the Prizes； December 10； 1772； by the President。
Gentlemen；I purpose to carry on in this discourse the subject which I
began in my last。 It was my wish upon that occasion to incite you to
pursue the higher excellences of the art。 But I fear that in this particular I
have been misunderstood。 Some are ready to imagine； when any of their
favourite acquirements in the art are properly classed； that they are utterly
disgraced。 This is a very great mistake： nothing has its proper lustre
but in its proper place。 That which is most worthy of esteem in its
allotted sphere becomes an object； not of respect； but of derision； when it
is forced into a higher； to which it is not suited； and there it becomes
doubly a source of disorder； by occupying a situation which is not natural
to it； and by putting down from the first place what is in reality of too
much magnitude to become with grace and proportion that subordinate
station； to which something of less value would be much better suited。
My advice in a word is this： keep your principal attention fixed upon
the higher excellences。 If you compass them and compass nothing more；
you are still in the first class。 We may regret the innumerable beauties
which you may want： you may be very imperfect： but still； you are an
imperfect person of the highest order。
If； when you have got thus far； you can add any； or all； of the
subordinate qualifications； it is my wish and advice that you should not
neglect them。
But this is as much a matter of circumspection and caution at least as
of eagerness and pursuit。
The mind is apt to be distracted by a multiplicity of pursuits； and that
scale of perfection； which I wish always to be preserved； is in the greatest
danger of being totally disordered； and even inverted。
Some excellences bear to be united； and are improved by union； others
are of a discordant nature； and the attempt to join them only produces a
harsher jarring of incongruent principles。
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The attempt to unite contrary excellences （of form； for instance） in a
single figure； can never escape degenerating into the monstrous； but by
sinking into the insipid； taking away its